Inside the Mind of an Actor Who Refuses to Fit In : Paul Ahrens, Off Script but On Point

AFFECT caught up with Paul Ahrens. Between script pages and set calls to talk about vulnerability, ambition, and the quiet power of staying soft in a loud industry. You might have seen him on screen. Paul Ahrens doesn’t play characters, he inhabits them. Whether as the quiet outsider or the emotional core of a scene, he brings something that lingers. It’s not about stealing the spotlight. It’s about holding it, just long enough to shift something. With roles that stretch from coming-of-age stories to darker, more fragmented narratives, Ahrens refuses to be pinned down. There’s no five-year plan, no PR polish. Just work that feels honest and a presence that’s hard to fake. We talked with him about new projects, emotional fluency, masculine clichés, and why he’s tired of being what or what not to do. Paul Ahrens isn’t performing. He’s showing up.

AFFECT: Let’s start with an introduction, who are you and what do you do?
PAUL AHRENS : Hi, I’m Paul, I’m 23, and I’m an actor.

A: How would you describe yourself in three words?

P: I’d say I’m ambitious, laid-back, and empathetic.

A: Is there something people often misread about you when they first meet you?

P: That’s a good question. I feel like I’m often perceived quite accurately. I don’t think I really struggle with people having wrong or negative assumptions about me.

A: Has that never happened?

P: It has, but it’s never been something that really affected me, because it usually got cleared up quickly.

A: What kind of assumptions were those?

P: Oh, that was more during school. Not really anything recent. (…) Nothing that still applies today.

A: How did you get into acting in the first place?

P: I started taking acting workshops in Hamburg in 2019. I used to travel there once a week after school, and through that I got my first agency. Then in 2020 I started getting my first TV roles, and things kind of took off from there.

A: Did you always want to act, or did it just sort of happen?

P: I wanted to do it for a long time. I used to do theater in Buxtehude, but growing up in such a small rural town, opportunities were limited. I always had the desire to explore something different, especially film, which fascinated me. It took a while to build the courage to pursue it, but once I did, thankfully it worked out.

A: Were there moments when you doubted that it was the right path?

P: Not at the beginning, luckily things progressed quite quickly and consistently. But I’ve had moments of doubt later on in my career. Especially last year, there was a phase when those doubts became more present. But that also helped me realize that doubt is just part of this job. It comes in waves, and you have to learn to move through them.

A: So you try to see the positives in it?

P: Yeah, definitely. Especially when you get through those phases and things look up again.

A: Were there specific themes or scenes that were especially challenging or emotionally intense for you?

P: Was wir fürchten was really challenging, because I had to tap into a deep emotional space. Performing that authentically in front of the camera created a lot of internal pressure. I was afraid that pressure might limit me, but thankfully, it didn’t. Still, it was an intense shoot.

A: When you make yourself vulnerable like that, does it affect your personal life?
P: It really depends on the role, but yes, generally it does. You definitely carry it with you during the shoot. But I think I’ve grown in that area and can separate it better now. Like, earlier this year I did a project that was also emotionally deep, and I didn’t feel personally affected the same way.

A: Do you have to distance yourself from the role afterward?

P: Yeah, I think my body does that naturally.

A: Do you have any kind of rituals for that?

P: Not really, my body just takes the time it needs. After an intense project, I automatically withdraw and take quiet time for myself. That helps a lot. But after that, I also need to reconnect with people, especially outside of the film world.

A: How do you prepare for roles?

P: Ideally, I have a long lead time before the shoot. Then the character sort of lives in my subconscious and follows me through daily life. I’ll get ideas at the strangest times. It’s like I’m slowly building the character inside myself. That’s harder with short-notice roles, but when there’s time, it’s a great process.


A: What does masculinity mean to you and how has that changed through acting?

P: My view on masculinity has changed a lot over the years. Growing up in a rural area, I had a pretty limited view of it. But I’ve come to understand that masculinity is fluid. And now I really enjoy playing with that concept, especially in my work.

A: Do you think there are still typical “male” roles or is that outdated now?

P: Oh, they definitely still exist.

A: How would you describe them?

P: There are still roles that reflect toxic masculinity, where being emotionally shut off or dominant is seen as strong or desirable. And I think it’s important to keep portraying those types too, because they still reflect parts of our society. But it's crucial that these portrayals are questioned in the narrative and that alternatives are offered.

A: Do you think these toxic male images are a struggle for viewers too?

P: For sure. If you don’t fit into that mold, it can be tough. I had that experience growing up too, not relating to what was seen as “typically male.” It takes work to accept yourself and understand that masculinity is personal and varied.

A: What role do you think acting can play in loosening or expanding those images?

P: I think it’s powerful to see that you’re not alone. Film has the ability to reflect society and spark conversations. It’s so important to show many forms of masculinity, just like there are many forms of femininity. We’re all more than just our gender or the boxes we get put in.

A: Do you think the new generation of actors can help show more diverse expressions?

P: I hope so. But even my generation is still struggling, we’re not “there” yet. We’re at the beginning. A lot still depends on directors, writers, producers – and many of them still come from older generations. It can be hard to introduce new perspectives in that context.

A: When you think about the future, what would be your ideal vision?

P: That everyone can live however they feel comfortable as themselves.

A: Have you ever felt typecast or misunderstood in terms of the roles people want to give you?

P: I’ve noticed recently that I’ve built a kind of box for myself – and the industry sees me within it too. Luckily, sometimes I still get to break out of it. This year I’ve had some roles that allowed me to do that. That said, I still really appreciate the projects I’ve done so far,  I feel very at home in them.

A: Are there qualities you used to see as negative in yourself that have become strengths?

P: My calmness. I used to see that as a drawback, especially in school, because I didn’t see it in people around me. It made me feel different. But now I see how valuable it is.

A: Do you ever feel like people expect something specific from “Paul” because of your roles, like your real self and your characters are blurred together?

P: Yeah, definitely. I notice that in public, people sometimes conflate me with my characters. But I see it as a compliment. It means the work resonated. I think it’s my job to keep telling different stories. And I also feel that people are starting to recognize me more as an actor, not just for one role. That’s a great feeling.

A: Was there a moment when that started to shift?

P: Was wir fürchten really helped. After Druck, I felt very tied to that role, people strongly associated me with it, probably because it felt so real and relatable. That was hard to deal with. But Was wir fürchten was such a different story and role, with more gravity. I think it gave people a new perspective and touched them in another way.

A: If you could bring one feeling or theme to the big screen to give it more space, what would it be?

P: That’s a great question. I think instead of just one theme, I’d want to give more space to cinema itself. I feel like German cinema is struggling,  it’s not getting the audience it deserves. But there are already so many important themes and incredible films out there. We just need more visibility and appreciation for them.

A: So it’s more about cinema in general, not just a specific topic?

P: Exactly. Of course, current issues, political and social are vital. But to tell those stories, we need to keep cinema alive. Cinema.

A: What would you like people  especially young actors to take away when they see you or your work?

P: I hope they always believe in themselves. That takes time and it can be really tough, but it’s so important to build self-trust. It makes the work easier and helps you stay grounded in a job full of opinions.

A: And what would you like people to think about you?

P: I just hope people continue to see me as an actor, appreciate the work I do, and want to see it. I’m so thankful there are already people who watch projects because I’m in them, I still can’t fully grasp that. But I hope people keep believing in the quality of what I do.


EDITOR-IN-CHIEF: NOÉMI ZAK

PHOTOGRAPHER: RUFUS ENGELHARD

STYLING: ANNA MARLEEN KUTSCH

ASSISTENT: MILAN PIENTKA

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